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PRO Comparison & Decision Tool
Choosing a performing-rights organization (PRO) should be simple, but the internet is full of invented "PRO X pays more" claims. PROs do not publish comparable per-play payout rates, so we don't fabricate any. Instead this tool compares the facts that actually matter and are verifiable: your region, whether you can even apply (open vs. invite-only), the join cost, and what each one collects. Answer a couple of questions and see the organizations eligible for you.
Every PRO at a glance
The verifiable facts for each organization in our data. Join fees and eligibility terms change — treat every cost as "confirm current terms" and check directly with the PRO before joining.
| Organization | Region | Eligibility | Join cost | Collects |
|---|---|---|---|---|
| ASCAP | United States | Open to apply | 50 USD one-time (writer) · confirm | US performance royalties (radio, TV, streaming, live, venues) |
| BMI | United States | Open to apply | Free · confirm | US performance royalties (radio, TV, streaming, live, venues) |
| SESAC | United States | Invite-only | Not published · confirm | US performance royalties |
| GMR (Global Music Rights) | United States | Invite-only | Not published · confirm | US performance royalties |
| PRS for Music | United Kingdom | Open to apply | 100 GBP one-time (writer) · confirm | UK performance royalties; reciprocal collection abroad |
| SOCAN | Canada | Open to apply | Free · confirm | Canadian performance + reproduction royalties |
Estimates are for informational purposes only and are not financial, investment, tax, or legal advice. Actual offers and figures vary by provider, contract terms, and current market conditions.
What a PRO does vs. a publishing admin
These two are constantly confused, and the confusion costs artists money. A PRO (Performing Rights Organization) — or its overseas equivalent, a CMO (Collective Management Organization) — collects performance royalties only: the money generated when your composition is streamed, played on radio or TV, or performed live. That is one royalty pool.
A publishing administrator handles the rest: US mechanical royalties via The MLC, foreign mechanical and performance income via sub-publishing, and international "black-box" recovery — money earned abroad that sits undistributed because no one is registered to claim it. You generally need both: a PRO for domestic performance income, and an admin to collect everything else.
The practical takeaway: which PRO you pick mostly affects your service and admin experience, not the headline rate you earn. Once you've joined one, run the publishing royalty recovery diagnostic to see which other pools you may be leaving uncollected.
You still need a publishing admin
A PRO covers performance royalties and nothing else. To collect mechanicals and recover international royalties, you'll want a publishing administrator. The options below are listed for information; we mark any unsigned partnerships as informational links, not endorsements.
Global publishing administration with broad society coverage.
Publicly cited at ~15% on performance / ~20% on mechanical, ~$100 setup.
Learn more →Publishing admin with no setup fee.
Publicly cited at ~20% commission, no setup fee.
Publishing administration bundled with distribution.
Self-serve publishing admin from a major independent publisher.
Frequently asked questions
ASCAP vs BMI — which is better?
Both are open to any US writer and collect the same kind of royalty: US performance income from streaming, radio, TV, and live performance. Neither publishes comparable per-play payout rates, so there is no honest "pays more" answer. The real differences are service, registration workflow, distribution timing, and membership structure (ASCAP is member-owned; BMI now operates for-profit). Pick on fit and admin experience, then confirm current join terms with each.
Can I be in two PROs at once?
For your writer share, no — you affiliate as a writer with a single PRO at a time, and you generally cannot collect the same performance royalty through two organizations simultaneously. If you also own a publishing entity, the publisher side can be a separate affiliation, but the writer side stays with one PRO. Switching is possible but follows each PRO’s resignation/term rules, so check the timing before you move.
Do PROs cost money to join?
It varies by organization and changes over time, which is why every figure here is flagged "confirm current terms." Some have a modest one-time writer fee, some have historically been free for writers, and invite-only organizations like SESAC and GMR do not publish a public join cost because you cannot simply apply. Always verify the current fee directly with the PRO before joining.
What is the difference between a PRO and a publishing admin?
A PRO (or overseas CMO) collects performance royalties only — money generated when your compositions are streamed, broadcast, or performed. A publishing administrator covers the other pools: US mechanicals via The MLC, foreign mechanical and performance royalties via sub-publishing, and international black-box recovery. You typically need both: a PRO for domestic performance income, and an admin to collect everything else and chase overseas money.
Does my choice of PRO change how much I earn?
Mostly no. PROs distribute performance royalties based on detected usage, and they do not publish comparable per-play rates, so the headline amount you earn is driven by your usage, not your logo. What differs between PROs is service quality, the registration and claiming workflow, distribution frequency, and member benefits. Choose on those factors, not on an invented payout difference.
I am outside the US, UK, or Canada — which PRO do I use?
Join your home country’s national PRO/CMO first. Almost every country has one (for example GEMA in Germany, SACEM in France, APRA AMCOS in Australia, JASRAC in Japan). This tool lists the US, UK, and Canadian societies as starting points, but your local society is the correct primary affiliation. A publishing admin or sub-publisher then helps collect royalties earned in territories where you are not directly registered.